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The problem that I intend to solve is that the ELLE brand has lost its relevance in the marketplace because of the perception that it doesn’t offer any social consciousness. As a result, it is becoming undifferentiated with all the other fashion magazines suffering from the same problem.Since environmental responsibility has become so popular, a solution to this problem would be to join efforts and show ELLE’s social and environmental accountability by partnering with the charity, Fashion Delivers.I am developing a fashion focused ELLE event benefitting this charity. The event will exhibit up-and-coming fashion talent and will be marketed towards ELLE’s current female audience, ages 18-34 (“Demographics”, 2009). The goals of the event are to increase the overall awareness of the ELLE brand, to reintroduce ELLE not only as a fashion brand but as a socially responsible, charitable fashion brand and to kick off, publicly, a new partnership with the charity, Fashion Delivers, which will introduce ELLE to a new type of eco-fashion, socially responsible audience.Demographics. (2009). Retrieved December 1, 2009, from http://www.hfmus.com/hfmus/media_kits/fashion_beauty/elle/audience/demographics
Citation preview
IncorporatIng eco-fashIon Into the eLLe brandCampaign Book
© 2010 Gill ian SalitAll rights reserved.
Design by:Gill ian Salit Conceptual Design
2419 Oneida St. #1 Pasadena, CA 91107-5291
323 382 2136
gill [email protected]
Welle aWare Campa ign Book • 1
2 • Welle aWare Campa ign Book
IntroductIon
WELLE AWARE
IncorporatIng eco-fashIon Into the eLLe brandCampaign Book
© 2010 Gill ian SalitAll rights reserved.
Design by:Gill ian Salit Conceptual Design
2419 Oneida St. #1 Pasadena, CA 91107-5291
323 382 2136
gill [email protected]
Welle aWare Campa ign Book • 3
6
Even today, Gill ian Salit doesn’t define herself as
a graphic designer. When asked, she says that
she is a communications designer, a creative
conceptor, a professional problem solver, an idea
generator.
Born and raised in a small suburban town in
Connecticut, Gill ian had an unsatiated hunger for
information. Always asking questions, perhaps
this quest is what pushed her to graduate magna
cum laude from Syracuse University’s College of
Visual and Performing Arts with a concentration in
Communications Design in 2005.
The constant need to learn made working and
researching fun and interesting. This zest for the
unknown definitely showed through her work at
Circle One Marketing in East Norwalk, CT and
also at Lunchbox LLC in Culver City, CA. Gill ian
successfully created promotional programs,
advertisements, packaging concepts, branding
initiatives, radio scripts, television commercials,
and more both individually and on teams. She
was also given the opportunity to shine as a
team player in some instances and team leader
in others.
She has participated in internal critiques, presentation preparation, and brainstorming sessions. She has interacted extensively with clients by giving formal presentations of the creative team’s work. She managing photo shoots, interactive development and recording radio sessions.
Some of her clients include Tasty Baking Company, Sunoco, Inc., and Kobrand Wines and Spirits, Walmart, Unilever, Massimo Zannetti Beverage Company, Cadbury Schweppes America’s Beverages, Campbell’s Soup Company, Duracell, Gillette, to name a few.
Gill ian has an exciting and creativefuture ahead of her and she can’t wait tosee what is in store.
4 • Welle aWare Campa ign Book
26 40 60
REsEARch 6InItIal research 8“...Sustainable fashion is no longer attached to the hippy t ie-dyed stereotype of the past”
company profIles 10Learn about ELLE Magazine and Fashion Delivers Charitable Foundation, Inc.
target audIence 14Who wil l identify with the WELLE AWARE sub-brand? What is her personality profi le?
creatIve BrIef 16Learn about the objectives and project goals for this corporate init iat ive.
research paper 18“...Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we l ive, what is happening.”
stAndARds 40Brand standards 42Learn about the essence of a brand: everything that the WELLE AWARE stands for in an icon, symbol, typeface, color, or image. prInt standards 46Learn how each print element wil l evoke the same emotion and visual connection, further the overal l creation and build of the WELLE AWARE brand.
InteractIvestandards 53The interactive graphics for the WELLE AWARE brand wil l be displayed onl ine. These specif ic graphics have been created for a temporary microsite so each component is permanent.
motIon graphIcstandards 56Learn about al l the contr ibuting components to the motion graphic element of the WELLE AWARE sub-brand.
stRAtEgy 26process taken 28What is the process used when undertaking this type of project? Why is it necessary?
type & color decIsIon 30Why were certain type faces and colors chosen? What made them appropriate for this project and this sub-brand?
mood Board 32See how chosen elements up to this point function together in a creative sett ing.
InItIal conceptIng 34See the original ideas for this program and how they have progressed and evolved through the project’s development.
prInt 335Magazine Ad
motIon graphIc 36Banner Ad
InteractIve 38Promotional Microsite
soLution 60prInt 62See the f inal execution of the magazine advert isement to be displayed in an issue of ELLE magazine.
motIon graphIc 64See the f inal execution of the “fatboy” expandable banner advert isement to be displayed on ELLE.com.
InteractIve 68See the f inal execution of the program’s promotional microsite.
Welle aWare Campa ign Book • 5
rESEArcH
rESEArcH
StrAtEgy
Process taken
Eco is thE futurE of fashion
rESEArcH
in i t ia l Research
sustAinAbiLity MAtERiALs
There are many factors when consider ing the susta inabi l i ty of a mater ia l . The renewabi l i ty and source of a f iber, the process of how a raw f iber is turned into a text i le, the working condi t ions of the people producing the mater ia ls, and the mater ia ls tota l carbon footpr int .
Natural fibers fibers which are found in nature and are
not petroleum-based. Natural fibers can be
categorized into two main groups, cellulose or
plant fiber and protein or animal fiber
Cellulose one of the most widely grown and chemical-
intensive crops in the world. Conventionally
grown cotton uses approximately 25% of the
worlds insecticides and more than 10% of the
worlds pesticides. ProteiN
Wool, Silk, Angora, Camel, Alpaca, Lama,
Vicuna, Cashmere, Mohair
MaNufaCtured From natural materials: Lyocell, Polylactic acid
or PLA (Corn Polymer)
reCyCled fibres Are made from scraps of fabrics collected
from clothing factories, which are processed
back into short fibres for spinning into a new
yarn.
At its core, “eco-fashion is about making clothes that take into account
the environment, the health of consumers and the working conditions of
people in the fashion industry” (The Sustainable Technology Education
Project, n.d.). These clothes are made using organic raw materials, don’t
involve the use of harmful chemicals and bleaches to color fabrics, and
are often made from recycled and reused textiles. High-quality garments
can be made from second-hand clothes and even recycled plastic
bottles. Eco fashions, or sustainable clothing, are made to last, so that
people keep them for longer and reuse them.
Until recently, many clothing companies were focusing their attentions on final product and the profits it would bring the corporation. Just like numerous other industries, the bottom line and its affect on only the immediate corporation was the main concern. By-products of creating said product, such as carbon emissions into the atmosphere, loss of jobs, waste of natural resources, etc. just weren’t issues. “Production was outsourced to sweat shops with unethical business practices, fabrics were often treated with high levels of pesticides and other chemicals, and the creation of green house gases during the processing were rarely given second thought” (Vecchiarelli, 2010).
Just like many other areas in popular culture, design is another field that is starting to go green. We are witnessing an experimentation within the fashion industry with the materials in which pieces are created. Organic cotton, silk, hemp, and even bamboo are all alternative sustainable materials being used in the fashion industry. These are all resistant to bacteria and mold, they are easy to grow, easy to maintain, and improve the quality of the environment. Additionally, animal fibers such as wool, alpaca and cashmere are becoming more popular, while the even the method in which these materials are died are now more conducive to a safer environment.
veganProducts made without the use of leather or animal t issue products. (ex. shoes and bags made from “vegetal leather” using Amazonian rubber).
ethIcally producedFashion that has been produced with respect for people and the environment.
craft/ artIsanProducts that have been
crafted using art isan ski l ls such as embroidery, which preserve the perpetuation of ancestral tradit ions.
customAlso cal led demi-couture or made-to-order. This is a way of encouraging quality and “slow fashion” over mass-produced disposable fashion.
faIr tradeAn organized movement
that promotes standards for international labor, environmental ism, and social pol icy in areas related to production of goods.
organIcNatural f ibers that have been grown without any pesticides and other toxic materials, preserving the health of humans and the environment. The process of organic growth can be cert i f ied by various organizations.
recycledAnything that has been made from already exist ing materials, fabrics, metals or f ibers.
cRitERiA
“SuStAInAblE fASHIon IS no longEr AttAcHEd
to tHE HIppy tIE-dyEd StErEotypE of tHE pASt.”
- courtnI VEccHIArEllI
Welle aWare Campa ign Book • 9
StrAtEgy
Process taken
“ELLE continuEs to strut its stufffrom the airwaves to retail chains... When it comes to brand
development, elle really knows how to work it”
—Adweek 10/16/08
rESEArcH
company Profi les
is an award-winning international publication providing
progressive advice and inspiration for the design and
apparel industry. known widely in the fashion community,
elle magazine is seeking to make strategic improvements.
objectively, because more and more publications are
available online, elle wants to boost magazine sales.
Originally founded in France in 1945, ELLE was launched in 1988 in the United States by publishing giant, Hachette Filipacchi. Now, the world’s largest fashion magazine, ELLE has succeeded by “suggesting but never prescribing; by offering a rich mix of high and low; and above all by leading the reader to discover her personal style” (“About Us”, 2009). ELLE’s mission statement is as unique as the fashions featured on its pages. Even though everything in the world is destined to change, ELLE pledges and promises to “never lose our intell igence, our wit, our cool, and our ability to be just a little ahead of the times” (“About Us”, 2009).
on a larger, more long-term scale,
elle hopes to increase its overall
profit and increase awareness
across its entire brand portfolio.
fIfI aWards apr 2009The Fragrance Foundation presented two 2009 FiFi Awards to ELLE for Editorial Excellence in Fragrance Coverage—Women’s Scent Bite, for “Advanced Chemistry” in the October 2008 issue, and Men’s Coverage, for “This Year’s Model” in the December 2008 issue. Since 2005, ELLE has won nine FiFi Awards, more than any other magazine.
most engaged medIa Brands apr 2009Selected ELLE as one of the 2009 “Most Engaged Media Brands.” Recognized ELLE as “the voice of style that carries everywhere: the legendary brand is fully accessible to women everywhere: in print, online, on mobile, on-air and in stores.”
hot lIst mar 2009ELLE was #2 on the 2009 Hot List. Adweek recognized the magazine for its “good mix of aspiration and affordability” [making] it “right for the times,” while “integrated deals lock in pages,” and noting, “Beauty, non-endemic strong in ‘08. Sixth straight year of growth.”
Best performers In cIrculatIon Jan 2009ELLE was among the Top 10 on Capell’s “Best Performers in Circulation” List of 2008.
magaZIne puBlIsher of the year Jan 2009The Delaney Report names Carol Smith Magazine Publisher of the Year: “For maintaining the advertising page momentum for a monthly women’s fashion magazine during a time when the women’s fashion category has been under duress due to the weakened economy. For making ELLE a stalwart competitor to market leader Vogue. For not letting up.”
four gold trIangle aWards dec 2008The American Academy of Dermatology awarded ELLE four 2009 Gold Triangle Awards, the most of any women’s magazine. ELLE was honored for articles “Color Code” from the October 2007 issue, “Gloves Off” from the February 2008 issue, “Gone, Baby, Gone” from the March 2008 issue, and “Something New Under the Sun” from the June 2008 issue.
Brand leaders lIst oct 2008For the second time in three years, ELLE made AdWeek’s Brand Leaders List. AdWeek recognized ELLE for its stable of successful brand extensions, including the CW’s Stylista, the launch of “Joe A to Zee”, and the latest book, Women in Hollywood.
eXecutIve of the year oct 2008Advertising Age named Carol Smith the 2008 Executive of the Year. Since joining ELLE in 2002, Ms. Smith has overseen increased ad page growth each year and capitalized on brand extensions to gain market share among the competition.
Mission stateMent:ELLE pledges that even while we change—as
every l iv ing thing must—we wil l never lose our
intel l igence, our wit, our cool, and our abi l i ty to
be just a l i t t le ahead of the t imes.
AWARds & honoRs
Welle aWare Campa ign Book • 11
StrAtEgy
Process taken
BEcausE giving is aLways in fashion...®
www.fashiondelivers.org 212-629-6700 [email protected]
Amazing!
The fashion industry really came together for Haiti during their time in need. Companies including American Apparel, Armani Exchange, Forever 21, Hanes, LEI & Rocawear donated over $20 million in apparel and home furnishings for the earthquake struck country.
Chairman of Fashion Delivers, Allan Ellinger, gives praise to all those who donated to the cause, saying “Companies of all sizes, big and small, retailers and vendors, have been magnanimous in their generosity.”However, they still need help.
The organization hopes to raise another $5 million and more before they finish their efforts. Right now, they’re in need of lightweight men’s and women’s apparel as well as basic items such as underwear, socks, sheets, towels and blankets.
Based on the great response, we have no doubt they’ll exceed their goal.
PEREZ HILTON, COCO PEREZ, FEBRUARY 24, 2010
FASHION DELIVERS RAISES $20 MILLION FOR HAITI
PRESS COVERAGE:FASHION DELIVERS HOPE TO HAITI
February 24, 2010
NEW YORK DAILY NEWSDECEMBER 5, 2006
Charitable Foundation, inc.
December 5, 2006
www.fashiondelivers.org 212-629-6700 [email protected]
A tiny break from our regular programming: Please join us in taking some time to help out with Haiti’s earthquake disaster relief. Hundreds of thousands of people have lost their lives and many more are in dire need of medical care, shelter, and basic necessities. There are many charities available to help deliver your money and resources as efficiently as possible. But here are our top options for the day:
Fashion DeliversBusiness and shops, please consider sending your excess unused socks, underwear, sheets, blankets or throws, lightweight clothing, shorts, tshirts, sneakers, and sandals to Fashion Delivers. Products will begin arriving in Haiti by early next week so please call 212-629-6700 or email [email protected] for drop-off information.
THE PIPELINE, JANUARY 14, 2010
5 AWESOME WAYS TO GIVE TO HAITI’S EARTHQUAKE DISASTER RELIEF
The fashion world may be a judgmental community, but let it never be said that it is an uncaring one. Fashion Delivers, the four-year-old relief charitable foundation that distributes excess clothing to needy individuals and families all around the globe, is issuing a massive open call to designers and stores to donate “lightweight apparel” for men, women, and children in response to the epic catastrophe still unfolding in Haiti. The group is also calling for “underwear, socks, sheets (all sizes) and throws or lightweight blankets as well as baseball caps, sneakers, sandals, and sleepwear” — basically anything and everything the people of the island nation will need over the coming days, weeks, and years to stay clothed. Already Brooklyn-based retailer Bird has pledged to donate clothes on sale and 10 percent of all its sales this weekend to the cause. While the team is still working on other arrangements with boutiques and producers, with people like Sean Combs, Russell Simmons, and others on their board of directors, more high-profile campaigns should be coming soon.
NEW YORK MAGAZINE - THE CUT, JANUARY 14, 2010
FASHION DELIVERS TO RALLY STORES, DESIGNERS FOR HAITIAN EARTHQUAKE RELIEF
FASHION DELIVERS is asking businesses, individuals, and shops to send excess unused socks, underwear, sheets, lightweight clothing, shorts, blankets or throws, sneakers, t-shirts, and sandals. According to Refinery29.com, products will begin arriving in Haiti by early next week. Call 212-629-6700 or email [email protected] for drop-off information.
THE HUFFINGTON POST, JANUARY 15, 2010
HAITI CLOTHING DONATIONS: FIND OUT WHERE TO SEND SUPPLIES
PRESS COVERAGE:FASHION DELIVERS HOPE TO HAITI
January 15, 2010
www.fashiondelivers.org 212-629-6700 [email protected]
Corporations rushed to send millions of dollars in aid and supplies to Haiti as the quake’s death toll climbed Friday.
U.S. companies pledged more than $43 million within the first 72 hours after the quake struck, said Stephen Jordan, executive director of the U.S. Chamber of Commerce’s Business Civic Leadership Center. Twenty-two firms, including Microsoft Corp., Lowe’s Cos. and Abbott Laboratories, had pledged $1 million of assistance or more as of Friday afternoon, the chamber said.
Sending aid after disasters can boost a company’s public image and employee morale. Wal-Mart Stores Inc. won praise for its swift response to 2005’s Hurricane Katrina, which included mini-stores for storm victims and $20 million in aid right after the storm. Wal-Mart said it will provide $600,000 in relief for Haiti.
Other companies pledged money, water services, clothing, medicine and engineers to repair the country’s battered infrastructure. Logistical problems, including airport access, complicated efforts.
On Thursday General Electric Co. wired $1 million to the Red Cross and $500,000 to UNICEF to help the relief efforts, says Bob Corcoran, vice president corporate citizenship for GE. This weekend GE is making 10 solar-powered water-purification units to send to Haiti once it gets clearance from the Port-au-Prince airport. It’s working with government and airport contacts to get a slot to land there, but doesn’t know when that will be.
Telecom equipment maker Alcatel-Lucent has a team of engineers ready to send to Haiti, a spokeswoman said. The French
company is waiting to hear more details on the extent of the infrastructure damage before sending the team in. Alcatel-Lucent is working with Jamaica-based operator Digicel, whose services in the area have been damaged.
Digicel, Haiti’s leading wireless phone provider, promised $5 million and said it would work to restore infrastructure. Ericsson, at the request of the United Nations, will deploy a small team of telecom experts to help establish mobile communication areas where disaster struck.
Emergency response telecommunications nonprofit Telecoms Sans Frontieres, which is funded by telecom companies, sent two teams of responders to Haiti on Wednesday from Nicaragua and France. Paul Margie, a U.S. representative with the nonprofit, says the communication system in Haiti was damaged and overloaded. Teams are looking to set up as many access points as possible but transportation and security are major obstacles.
Other companies are sending water relief. Coca-Cola Co. is donating $1 million to the American Red Cross and said it would provide water and other drinks through its bottler in the neighboring Dominican Republic. The PepsiCo Foundation said it would give $1 million to the relief effort and would allocate bottled water and Gatorade to disaster victims through its bottlers in Florida and the Dominican Republic. Nestle Waters North America pledged $1 million in bottled water products, most of which will also be shipped over from nearby islands in the Caribbean.
Procter & Gamble Co., working with several humanitarian relief agencies to donate funds and supplies, said its initial shipments of
PUR water-purification powder packets arrived in Haiti yesterday.
Package handler UPS Inc. said it would donate $1 million to relief efforts through its charitable arm, and the union that represents the shipping giant’s pilots said it would volunteer to fly aid shipments to Haiti for free. And though U.S. airlines have suspended commercial flights to Haiti, AMR Corp.’s American Airlines and Spirit Airlines have agreed to send aid to the country.
Clorox Co., of Oakland, Calif., said it has pledged $125,000 to the American Red Cross and also plans to donate its Glad trash bags, Clorox bleach and other disinfectant products to the organization when it is ready to accept shipments.
Retailer Lowe’s pledged $1 million to the American Red Cross International Response Fund on Wednesday and set up donation centers at stores. It’s considering sending supplies to Haiti but is awaiting word from relief organizations. “Relief agencies are saying the biggest need now is for cash,” a spokeswoman says.
Allan Ellinger, chairman of Fashion Delivers, a non-profit organization that sends clothing and home furnishings to disaster-ravaged areas, emailed manufacturers on Tuesday after the earthquake and received over 100 responses in a matter of hours.
Contributors thus far include well-known brands such as Aeropostale Inc. and Polo Ralph Lauren Corp., and donations of items including shoes, t-shirts, jeans, lightweight jackets and socks are already “starting to come in,” says Mr. Ellinger.
THE WALL STREET JOURNAL, JANUARY 19, 2010
COMPANIES SEND AID TO HAITI
PRESS COVERAGE:FASHION DELIVERS HOPE TO HAITI
January 19, 2010
rESEArcH
company Profi les
unifies the men’s and women’s apparel and home
industries to donate new product in order to aid victims
of disasters and individuals in need throughout the year.
It matches need with availability of product coming from
both wholesale and retail fashion industry vendors-
some of the biggest names in the fashion and home
industries. fashion delivers™ charitable foundation,
Inc. has structured a global network of more than one
thousand local agencies that
it has coordinated with in the
donation and delivery of excess
products. While the organization
provides aid to those in need,
it also provides economic and
philanthropic alternatives for
companies disposing of their
excess inventory.
www.fashiondelivers.org 212-629-6700 [email protected]
Fashion Delivers for Haiti raised $20 million in apparel and homewares for the earthquake-ravaged country, hoping to exceed $25 million in total. Items still needed: lightweight men’s and women’s apparel and basics like socks and underwear.
The organization, which was created after Hurricane Katrina, tailors its efforts to supply necessities to countries torn apart by natural disaster. Several companies participated in donating the goods, including American Apparel, Hanes, Forever 21, Free People, Perry Ellis and others. Overall, the fashion community has been pretty impressive in raising product and funds for Haiti, between Fashion Delivers and Naomi Campbell’s highly-publicized runway show.
The private sector is getting help from the government in their efforts to bolster the country’s garment industry, which in 2009 was a half-billion-dollar industry, prior to the earthquake. The recently announced Plus One for Haiti initiative encourages companies to shift 1% of production to Haiti, while the Haitian Hemispheric Opportunity Partnership Encouragement Act (HOPE), gives apparel manufactured in Haiti duty-exempt status to the U.S. market.
To donate to Fashion Delivers for Haiti, visit fashiondelivers.org and click on a banner, or call 212-629-6700, ext. 221 to request a donation form.
NBC NEW YORK- THE THREAD, FEBRUARY 24, 2010
FASHION DELIVERS RAISES $20M IN PRODUCTS FOR HAITI
PRESS COVERAGE:FASHION DELIVERS HOPE TO HAITI
February 24, 2010 June 8, 2009About Fashion on the Square:www.fashiononthesquare.com
June 13, 2009: 9 am - 5 pmOpen model call for children and teens ages 5 - 17 right on Union Square. Go to www.fashiononthesquare.com for details. No modeling experience needed. $25 donation - proceeds benefit Wardrobe for Opportunity, K.I.D.S. (Kids In Distressed Situations) and Fashion Delivers.
ABC, The View from The BayMONDAY, JUNE 8, 2009
Charitable Foundation, Inc.
On September 15, 2005, thirty fashion industry leaders came together to provide relief to the victims of Hurricanes Katrina and Rita. Under the leadership of Allan Ellinger, over $4.5 mill ion worth of product was collected and channeled directly to victims suffering from the devastation. What began as a vision from the fashion industry, has turned into an incredible charitable endeavor to provide hope to those in need all over the world.
Fashion Delivers Charitable Foundation, Inc. mobilizes the fashion community to reach out and affect the world through their donations. Our donations provide relief and dignity to men, women, families and survivors of natural disasters.
Fashion Delivers has distributed over $55 mill ion in product donations since 2005!
Mission stateMent:The mission of Fashion Delivers™ Charitable Foundation, Inc. is to mobil ize the fashion community to reach out and affect the world through their donations of new products from the men’s, women’s and home industr ies. Our donations provide rel ief and dignity to women, men, famil ies and survivors of natural disasters.
Welle aWare Campa ign Book • 13
StrAtEgy
Process taken
targEt audiEncE
“our readers are young enough to think
about life as an adventure and old enough
to have the means to live it,”
- robbie myers, editor in chief.
Subscriptions account for 73 percent of readers. With the remaining 27 percent purchasing single issues, Elle is the only fashion magazine to have increased its newsstand sales in the past five years, most notably with an 18 percent increase in the first half of 2006. There are 27 Elle websites globally, which collectively attract over 1 mill ion visitors and 26 mill ion page views per month. Elle reaches over 4.8 mill ion readers.
MAgAzinE REAdERsBased on Spring 2009 sales, total readers 5,171,000
Based on Spring 2009 sales, total FEMALE readers 4,638,000 (90%)
Personality traits often include: mult i faceted,
Posit ive/
optimistic
Never satisf ied
Curious
Expressive
She is SOCIALLY ACTIVE [within her own social scene].
Median age 33.2 years old
% of readers 54.0%*within the range of age 18-34 years
% of readers 52.0%*within the range of age 25-49 years
Median household income reported $71,894.00
Household income reported $75,000+ 47.7%
% of readers who have col lege educations 71.1%
% of readers who are employed 68.4%
% of readers who are single 57.9%
4.87 readers/ 1 copy sold.
14 • Welle aWare Campa ign Book
StrAtEgy
Process taken
WEbsitE bRoWsERsAverage number of unique visits per month 2,103,900
Based on Spring 2009 sales, total FEMALE readers 4,638,000
(90%)
Personality traits often include: Engaged
Responsive
Trendsett ing
Mult i faceted
Tech Savvy
Curious
Expressive
Social ly active
Average age 31.7 years old
Household income reported $75,000+ 41%
% of visitors who have col lege edu. 88%
% of visitors who are employed 69%
MusicsAvvy
47%shopped for
entertainment
in the
know40%
read or Wrote blogs
FAshion divA 90%
shopped online for apparel
BeAuty BuFFs
72%shopped online
for beauty
Jetsetters
54%made travel
arrangements
Welle aWare Campa ign Book • 15
rESEArcH
creat ive br ief
crEativE BriEf
16 • Welle aWare Campa ign Book
rESEArcH
creat ive br ief
cREAtivE bRiEf
ObjectiveI am developing a fashion event consisting of a runway show benefitting a fashion related charity. The event will exhibit up-and-coming fashion talent and will be marketed towards ELLE’s current female audience, ages 18-34. (Though ELLE’s demographic will not be in attendance, the event’s coverage will peak interests).
cOmpetitiOn Other fashion-focused publications (Harper’s Bazaar, InStyle, Vogue, W, Allure).
prOject GOals To increase brand awareness for the ELLE brand. To see ELLE as a source of information not only for fashion, but also for information on how to put fashion towards a good cause generating more interest in the Fashion Delivers charity.To boost magazine sales at shelf.
tarGet messaGeCombining the spirit of giving with our culture’s love of beauty, shopping and entertainment to benefit those in need.
tarGet audienceReaders:Female, age 18 – 34 yrs., median household income is $71,894.00.71.1% of ELLE’s readers have college educations.68.4% of ELLE’s readers are employed.57.9% of its (female) readers are single.4.87 readers/ 1 copy sold.
Website Visitors:Female, socially active, a professional go-getter, positive, and never satisfied88% of ELLE’s readers have college educations.69% of ELLE’s readers are employed.The average age was 31.7 years.HHI $75K+ 41%
Key tenets Of the brandSophisticated, bold, stylish
desiGn style, tOne, cOlOr palette, fOnt The branding will be reminiscent of ELLE’s branding. Similar to the style of ELLE Magazine, the tone that best suits my concept is modern, sophisticated, trendy, fashionable, up-to-date, whimsical and stylish. The design style that I will be delivering will be sophisticated and stylish while also informative and uplifting. Elle’s audience already recognizes and accepts the brand’s look and feel.
The color palette will be bold and bright. Using primary colors and jeweled tones together with a wide range of textures will convey “fashion“ in terms of the look and feel.
cOpy messaGeHeadline: Share the Flare. (in interactive /URL instances, Share the fashion flare)
medium #1Print advertisement campaign to be seen in ELLE magazine. This will publicize about the Lifetime Television Network’s coverage of the event. Each print ad will incorporate a watch-and-win styled donation scheme which will also serve as a measurement strategy vehicle.
medium #2Motion graphic incorporated banner advertisement to be featured on Elle.com. The banner will be a medium rectangle / “Fatboy” (rollover expandable) style. Success will be determined based on clicks and analytics.
medium #3Microsite activated by the expandable banner advertisement. This will be a temporary (promotional) website that will eventually live as a much smaller section on ELLE.com.
Throughout the entire site map, the viewer will be able to register for WELLE AWARE news about the new brand as well as event info about Share the Fashion Flair. She will also be about to share or follow WELLE AWARE via social media portals at any point during her web visit.
The microsite’s dimensions are 800 px x 600 px
Client Company:
not For proFitCompany:
Welle aWare Campa ign Book • 17
StrAtEgy
Process taken
WoRd usAgE
rEsEarch PaPErwELLE awarEa proposal for a corporate partnership Between elle magazine and the charity fashion delivers
AbstRAct
the elle brand is losing ground in the marketplace, which may be partly attributed to the fact that
elle has no visible permanent connection to any kind of social cause; and, as a result, it is becoming
undifferentiated with all other fashion magazines suffering from the same problem. after researching the
competition though online sources, industry sources, and printed magazines, it can be deduced that, in
order to solve this issue, elle would be making a strategic move by publicly and permanently partnering
with a fashion-focused charity such as fashion delivers. In doing so, it would successfully combine the
moral need to make a difference with our culture’s love of beauty, shopping and entertainment in order to
directly benefit those in need. Branding this collaboration as a freestanding entity will strengthen both
fashion delivers and elle as well as the resulting partnership. the effect would include elle benefitting
the brand by publicly kicking of a new partnership with the charity, fashion delivers, through a large-
scale event, which would draw a lot of positive public relations attention to the brand, increasing the
overall awareness of the elle brand, and reintroducing elle not only as a fashion brand, but also as a
socially responsible, charitable, fashion brand to the public.
18 • Welle aWare Campa ign Book
rESEArcH
Research Paper
Fashion has changed from being an interest or a hobby to becoming a culture in itself. This is especially evident in the last several decades. According to the Apparel, Textiles & Fashions Statistics, as of 2008, U.S. retail sales of the “Clothing and Accessories Stores” category brought in over $172.6 bill ion (“Apparel, Textiles & Fashions Statistics,” 2010). It can only be concluded that the fashion industry has become a major player in our country’s economy as well as the international marketplace. However, because of the fashion industry’s burst in popularity, some of the contributors have lost their edge. Even though it has such an historical presence and long heritage in fashion culture, the ELLE brand, in particular, is losing ground in the marketplace. This may be attributed to the fact that the ELLE brand has no visible current connection to any kind of social cause and, as a result, it is becoming undifferentiated with all other fashion magazines suffering from the same problem. Since environmental responsibility has become so popular, a solution to this problem could be to join efforts to show ELLE’s social and environmental accountability by partnering with a charity such as Fashion Delivers: this successfully combines the spirit of giving with our culture’s love of beauty, shopping and entertainment to directly benefit those in need. To effectively achieve this, I am developing a fashion-focused ELLE event benefiting Fashion Delivers, a charity that stands for and strives to promote social and environmental awareness. Exhibiting up-and-coming fashion talent, the event will be marketed towards ELLE’s current female audience. She will be able to watch the event live on the Lifetime Network hosted by Style icon Tim Gunn. After announcing the partnership of ELLE and Fashion Delivers, the goals of the event such as increasing the overall awareness of the ELLE brand, reintroducing ELLE not only as a fashion brand, but as a socially responsible, charitable fashion brand and publicly kicking off a new partnership with the charity, Fashion Delivers, will be accomplished. All of these will create a new genre in ELLE’s “eco-fashionably” yet socially responsible audience. The collaboration of ELLE and Fashion Delivers will become an ongoing partnership of the two entities known as WELLE AWARE, and the branding of WELLE AWARE will, in turn, strengthen both partnering parties’ branding in the process. Thorough research on the ELLE consumer reveals that the ELLE reader/online browser is a levelheaded career woman whose plans for the future in her daily routine. She is environmentally and socially conscious. When she can, she helps those in need. Because designer purchases may be unrealistic for her means, following fashion trends and fashion culture may serve as a portal to another, more indulgent lifestyle. While she doesn’t have much free time, for fashion, she will spare a few minutes. Fashion is emotional and brings a sense of happiness and pleasure. By bringing ELLE together with the Fashion Delivers charity, ELLE will bring its consumers information on two areas of interest instead of one- fashion culture and social responsibility. One of the main goals of this initiative is to increase the overall awareness of the ELLE brand. Linking with The Weinstein Company brand, Lifetime Networks, ELLE will be able to build up and tease the public in multiple media-saturated areas in addition to Lifetime, ELLE, and through its subsidiaries. Through The Weinstein Company, advertising for ELLE’s partnership with the Fashion Delivers charity and its fashion focused celebratory event will potentially be able to be shown on other The Weinstein Company brands including TWC, Hubbard Media Group, Ovation TV, Sony Pictures Home Entertainment, and MGM. By joining together with a Weinstein Company brand, ELLE Magazine will be able to use the company’s publishers, Perseus Book Group and Miramax Books, to create more brand awareness. Any of these areas offer potential future cross-promotional opportunities. Due to contractual agreements with The Weinstein Company, each network will automatically be able to have
“encore” showings of the event and have the usage rights to use media taken from the event with the stipulation that it is marked with the ELLE brand mark. By doing that, the ELLE name will circulate as fast as the latest trend that emerges as a result of the event. Awareness of the ELLE brand will increase through the use of host Tim Gunn during the LIVE telecast to be shown on the Lifetime Network. Already a style and fashion icon, Tim Gunn has a very loyal following dating back to 1983 when he joined the staff of the famed Parsons The New School for Design in New York City (Parsons The New School for Design, 2010). Since then, he has truly proven his eye for fashion by covering the red carpet at the Academy Awards, Emmy Awards and Golden Globes in 2006, 2007 and 2008 as a fashion correspondent for The Today Show and Entertainment Tonight. Tim Gunn continues to stay on top of upcoming trends by being a contributing writer to ELLE, Seventeen, People, and US Weekly (People.com, 2010; Teen Hairstyles, Games, Dating Advice, and Fashion - Seventeen.com, 2010; Us Weekly’s Hot Celebrity News, Photos and Video from Usmagazine.com, 2010). In addition to having an impressive background in the fashion field, Gunn is a recognizable face. Gunn is a mentor and fashion expert on “Project Runway,” a nationally syndicated reality television series hosted by international super model Heidi Klum. Further connecting the ELLE brand to the Lifetime Networks and the Weinstein Company is a strategic venture because ELLE Magazine fashion director Nina Garcia served as the reality television show’s regular judge for the first five seasons before it moved to the Lifetime Network. ELLE Magazine is already familiar and connected to the Tim Gunn through the Project Runway experience. Using Tim Gunn as the spokesperson will connect the ELLE brand to everything that his audience associates him with including high fashion, style, and refinement. In addition to the use of a spokesperson and multiple media network outlets, awareness of the ELLE brand will increase through acquiring exclusive content at the event. Because the event will be produced by ELLE and all media created as a result of the event will be property of ELLE, the ELLE brand will have ownership rights to content including celebrity and designer interviews, sound bites, photography, video clips, and much more. Fashion and entertainment events have always been known attract media attention, but because all media is the brand’s property, this will be another area in which the ELLE name will be connected with anything from the event. ELLE will have the flexibil ity to use this media obtained at any point in any format after the event. Since it was created
Welle aWare Campa ign Book • 19
rESEArcH
Research Paper
by the ELLE brand (unless contractually stipulated by one of the designers), there wouldn’t be any time constraint or limitation as to when photography or videography could be used. After the event has concluded, it will have released major trends to be followed and emulated. Soon, there will be images and people modeling the designers’ vision but until then, it is ELLE’s property. Each design was first photographed at the ELLE event. Therefore, it is exclusive branded content. Since ELLE will have the first images of those trends, it will be ahead of its competition. Linking with the Lifetime Network, a Weinstein Company brand, and util izing its network of media outlets, by using Tim Gunn as a spokesperson and gaining his current fan base, and by acquiring media produced at the event as exclusive content would dramatically increase awareness of the ELLE brand. Especially during the days leading up to the event, by util izing these methods of brand penetration, the demographic would in fact have a difficult time not encountering ELLE brand placement. Another goal of this initiative is to reintroduce ELLE not only as a fashion brand, but instead as a socially responsible, charitable fashion brand to the public. ELLE has a rich history that dates back to 1945 where Pierre Lazareff and his wife Hélène Gordon founded the brand in France. Decades later in 1981, the ELLE brand, along with the rest of Hachette magazines’ portfolio, was purchased by Daniel Fil ipacchi and Jean-Luc Lagardère. Although ELLE was struggling at the time, this venture now has made ELLE the world’s largest fashion magazine with 39 international editions in over 60 countries today (ELLE (magazine) -, 2010). The brand has become its own fashion network consisting of more than 20 fashion-related websites including ELLE, ELLE Décor, ELLEgirl, and Pointclickhome.com (Marketing, 2010). According to Robbie Myers, ELLE’s editor in chief, “Our readers are young enough to think about life as an adventure and old enough to have the means to live it” (ELLE (magazine)-, 2010). Of these readers, both online and in print, 5,456,000 of 5,942.000 (92%) are women. There is a median age of 32.9; 55.1% of readers are between the ages of 18 and 34; 48.4% of readers are between the ages of 25 and 49. The median household income is $77,039 and 51.2% have a household income of more than $75,000; 73.8% of readers have attended and/or completed college; 66.4% are employed, and 60.6% are single (Marketing, 2010). The average reader is level headed and plans for the future financially as well as physically including exercise into her daily routine. Designer purchases may be foremost in her mind yet
unrealistic for her way of living. Following fashion trends and fashion culture may serve as a portal to another more indulgent lifestyle. ELLE’s consumer may read or browse online in between doing other things. She reads ELLE at the gym, in line at the grocery store, while waiting at the dentist, or after clicking on an email-blast link. While she doesn’t have much free time, for fashion, she will spare a few minutes. Fashion is emotional and brings a sense of happiness and pleasure. From ELLE’s history and its current content, the ELLE brand is definitely seen as a resource for fashion information. This is an identifiable trait that keeps ELLE’s readers returning to ELLE for more and more information. The ELLE reader is, however, interested in more. Fashion is a great source of happiness, but it isn’t the only area where she finds fulfi l lment. Social responsibility, charity, and environmental awareness are large areas of interest of the ELLE demographic that the brand isn’t currently capitalizing upon. The ELLE brand is connected with multiple charitable organizations. Each fits the ELLE reader who is interested in Hollywood glam, luxury, and high fashion. ELLE takes part in the Film Independent Spirit Awards for an annual event held on its Santa Monica Beach property. This is considered the “see-and-be-seen spot for Hollywood’s hip, emerging talent” (Marketing, 2010). ELLE’s own IntELLEgentsia event celebrates successful women in their respectful fields. This annual event also attracts the elite of New York’s social circles. Green is a “VIP, celebrity-fil led party for the planet” held annually in Los Angeles. Finally, Women in Hollywood is a tribute to women in fi lm and holds an annual event held in Los Angeles. These are all very noteworthy causes that raise a large amount of money for each charity or cause. Even though ELLE has these affi l iations, it isn’t known as a charitable brand because the public isn’t aware of these organizations’ connection with ELLE. There isn’t a permanent presence between each charity and ELLE. Because many charitable contributions are visible at one-time events, it is difficult for ELLE readers to identify the constant interaction between ELLE and each charity. These do not fulfi l l the readers’ interest in helping others, giving back to the community or being socially and environmentally responsible human beings. Because each event is reported as fashion news during the corresponding issue of ELLE, there is little distinction between fashion news and ELLE fashion news. Ultimately, readers will realize that there are other fashion publications that offer the reader information about both fashion and social activism and how the two topics work together.
thE REsuLting ELLE
bRAnd-fAshion dELivERs
coLLAboRAtion, WELLE
AWARE, WouLd APPEAL
to A nEW “Eco-fAshion”
yEt sociALLy REsPonsibLE
AudiEncE.
20 • Welle aWare Campa ign Book
WoRd usAgE
By forming a corporate partnership with Fashion Delivers, the resulting ELLE brand-Fashion Delivers collaboration, WELLE AWARE, would appeal to a new “eco-fashion” yet socially responsible audience. Eco-fashion is just one very specific example that social and environmental responsibility really does affect all areas of our culture. Directly related to ELLE’s subject matter and target audience, Fashion Delivers’ confronts poverty and the effects of natural disasters by supporting international relief agencies and shelters. It provides support through new clothing, shoes, books and other home essentials donations. “Through the support of the world’s major men’s, women’s and home furnishings industries, combined with an unparalleled network of more than 1,200 local agencies across the country, Fashion Delivers coordinates the delivery of excess new product to individuals in need throughout the year”
(CHARITY OF CHOICE, n.d.). To those concerned with living an environmentally sustainable lifestyle, fashion may not be a high priority. Areas that are of concern include transportation (cutting back on fuel emissions, carpooling, riding bikes), energy (solar panels, fuel cells, building-integrated wind turbines, using energy efficient light bulbs, install ing timers for appliances, properly insulating your home), water (the scarcity of clean drinking water, the energy necessary to purify), food (buying from local farms, the price and fuel consumption needed to ship food from far areas, toxins and preservatives that are damaging to us and the planet that are used as pesticides), waste (recycling, energy necessary to manufacture), and many more. Truly environmentally conscious people understand that all plants, including those that create our clothing may be sprayed with dangerous toxins and chemicals. “Cotton is, in fact, one
of the most heavily sprayed crops on the planet, so it stands to reason that our choice of clothing can have a major ecological impact” (Top Back to Basics Tips: Planet Green, 2010). To these people, eco-fashion isn’t about the style or design; it is about ecological impact on the environment. Garments that fall into the eco-fashion category use fabrics that come from plants not treated with harmful chemicals. These fabrics usually include organic cotton, hemp, flax, and bamboo. Eco-fashion is the connecting route between ELLE magazine and social and environmental issues. By linking to retailers and online markets that specialize in this type of fashion, ELLE will gain new exposure. Some areas similar to this include Ecouterre.com, Eco-chick.com, and Ecorazzi.com (Eco-Chick • Fabulously Green, n.d.; Eco-fashion is more than a passing trend, 2010; Ecorazzi.com, 2009). ELLE will also have the opportunity to work with
Welle aWare Campa ign Book • 21
smaller eco-fashion brands, potentially linking even more brands to the Fashion Delivers charity, which could raise more money. Building on this topic within ELLE magazine will draw a more eco-fashion forward audience in addition to ELLE’s current audience. At this point, ELLE would be seen by new people in a new light; as a socially responsible charitable fashion brand. The third objective of this initiative is to publicly kick of a new partnership with the Charity, Fashion Delivers. The branding of the partnership would be instrumental in strengthening both parties market presence. Even though ELLE is currently affi l iated with four charities (Film Independent Spirit Awards, IntELLEgentsia, Green, and Women in Hollywood), the public audience cannot see the connection between each group. If the reader doesn’t know that the affi l iation exists, its marketable benefit is questionable. In this case, ELLE wants to change the public’s perception of ELLE. Therefore, a stronger, more visible connection needs to be made. By
creating a large-scale event to announce a long-term, public partnership, many of the above issues will be solved. Directly following the event, readers will be aware of its existence and will know to look for new informational pieces in each ELLE edition that relate to social awareness. Specially themed events and fund-raisers will be held that would correspond with the partnership between ELLE and Fashion Delivers as well as with information inside each edition. The charity’s cause would be prevalent in the publication. Because the public announcement of the partnership between ELLE and Fashion Delivers would be done in such a memorable, celebratory way, the ELLE brand will be positively associated with social responsibility. In order to accomplish these objectives and to strongly establish the new collaborative brand known as WELLE AWARE, this campaign will be carried out through the means of three formats so that the highest number of viewers will be aware of this initiative. The three formats are print, motion graphics, and
interactive. Since ELLE’s demographic is browsing both online and in print, it is appropriate to advertise and announce information about the event through these outlets. Even more so, the interactive world is growing at such a rapid speed, it is strategically sound to create to different digital campaign vehicles to announce the partnership initiative: motion graphics and interactive. Using branding elements and design cues from ELLE’s current branding, the proposal is meant to evoke a feeling of elite style and bold attitude. Across the entire campaign, the main focus is of images with similar compositions and styles of fashion photography. They are very high in contrast, black and white, and striking. With a bold color palette of jewel tones, gray and black, the concept conveys a sleek sense of sophistication and self-confidence in which the bright hues provide clear focal points demanding attention. The typography is meant to be bold and eye catching but not distracting from the overall fashion-focus of the campaign. Even though the subject
22 • Welle aWare Campa ign Book
and purpose of this partnership is social responsibility and environmental activism through charity, it is important that the style of the campaign emulates that of ELLE’s current branding so that it feels as if it belongs within the ELLE family. The print format will be 1 page, four-color advertisement for Lifetime’s coverage of the event (Hosted by Tim Gunn) to be printed in an issue of ELLE Magazine. This will publicize about the Lifetime’s network coverage and of Tim Gunn as host of the event. A full-page ad in ELLE Magazine has a bleed of 8.25” x 11.125” and a trim of 8” x 10.875”. It is important to put an ad for this event inside of ELLE Magazine itself because ELLE’s current readers will also serve as live advertisements. If they understand what is happening in terms of a corporate partnership between ELLE and Fashion Delivers, they will be more inclined to spread the word. The motion graphic will be a motion incorporated banner advertisement created in the “Fatboy”
(rollover expandable) style at 300 px x 250 px. It will highlight the importance of fashion culture in our lives because of the significant benefit it provides those in need. This will be represented by the way the ad affects the rest of the entry web page. Upon visiting the web page, elle.com will be completely void of color; this will represent those in need. After selecting the ad, which will be in color, motion will begin and color will begin to saturate the rest of the page as if it was growing from the ad. This will create the metaphor that fashion provides aid to those in need. Ultimately, the motion graphic will lead the viewer to the third medium, which is an interactive microsite. The microsite will provide more detailed information on the partnership between ELLE and Fashion Delivers, background on Fashion Delivers, event information, a bio of Tim Gunn, a schedule of when to watch the event coverage on television, and more. The microsite will be temporary and will only live for the period leading up to the event and
for a short time after the event. There will be a link from the microsite to elle.com where, after the event, there will be a permanent section devoted to concepts relating to Fashion Delivers. Conversely, there will be a link to both the event microsite and elle.com on fashiondelivers.org. Both the motion graphic and the microsite are essential because the online viewer is familiar with digital media. She is comfortable with online advertisements and information incorporating motion. It is important that the campaign fit into the language that she speaks. All elements of this campaign will use graphic elements including simple geometric shapes and growing swirls as a connecting point among the media. They will be colorful and will add to the black and white, highly saturated photography that will create the imagery. These graphics will represent the inherent qualities of nature when introducing topics about environmental activism and social responsibility.
Eco-fASHIon IS tHE
connEctIng routE
bEtwEEn EllE mAgAzInE
And SocIAl And
EnVIronmEntAl ISSuES.
Welle aWare Campa ign Book • 23
StrAtEgy
Process taken
WoRd usAgE
Coco Chanel once said, “Fashion is
not something that exists in dresses only.
Fashion is in the sky, in the street, fashion
has to do with ideas, the way we live, what
is happening” (Chanel, 2010). Today, the
way we live is largely impacted by our
thoughts on sustainability, social awareness,
and environmental responsibility. In
the past, the ELLE brand has done a
phenomenal job finding the latest trends
and showing the public what it has found.
What if the latest trend has nothing to do
with fashion? What if the latest trend is
about helping each other and the planet
in times of need? ELLE has never had
a problem translating cultural trends into
fashion trends, so using the public’s new
moral position in the fashion world should
be a challenge that the ELLE brand would
want to embrace. More importantly, ELLE
needs to strategically contribute to this
movement before the brand is left behind
by its competitors. By forming a long-term
partnership with Fashion Delivers, it would
successfully combine the spirit of giving
with our culture’s love of beauty, shopping
and entertainment to directly benefit those
in need.
In the process, ELLE would be making
a strategic and beneficial marketing move
to benefit the brand. It would be publicly
kicking of a new partnership with the
Charity, Fashion Delivers through a large-
scale event, which would draw PR attention
to the brand. It would definitely increase
the overall awareness of the ELLE brand.
Additionally, it would reintroduce ELLE not
only as a fashion brand, but instead as
a socially responsible, charitable fashion
brand to the public. The newly established
co-brand, WELLE AWARE, introduced at a
major kick-off event, would be beneficial to
both parties involved in this initiative.
24 • Welle aWare Campa ign Book
Chanel, C. (2010). Coco Chanel quotes. Retrieved March 28, 2010, from http://thinkexist.com/quotes/coco_chanel/
Eco-Chick • Fabulously Green. (n.d.). Retrieved March 14, 2010, from http://eco-chick.com/
Eco-fashion is more than a passing trend. (2010). Retrieved March 14, 2010, from http://www.ecouterre.com/
Ecorazzi.com. (2009). Retrieved March 22, 2010, from http://www.ecorazzi.com/Elle (magazine) -. (2010, February 26). Retrieved March 14, 2010, from http://en.wikipedia.org/wiki/Elle_%28magazine%29
Fashion - Women’s Fashion Magazine -ELLE.com. (2008). Retrieved March 14, 2010, from http://www.elle.com/
Marketing. (2010). Retrieved March 14, 2010, from http://www.hfmus.com/hfmus/media_kits/fashion_beauty_design/elle/marketing
Parsons The New School for Design. (2010). Retrieved March 14, 2010, from http://www.newschool.edu/parsons/
People.com. (2010). Retrieved March 14, 2010, from http://www.people.com/people/Project Runway | Bravo TV Official Site. (2010). Retrieved March 14, 2010, from http://www.bravotv.com/project-runway
Rocchio, C., & Rogers, S. (2008, April 7). Lifetime signs deal to grab ‘Project Runway’ from Bravo, NBCU sues - Reality TV World - News, information, episode summaries, message boards, chat and games for unscripted television programs. Retrieved March 28, 2010, from http://www.realitytvworld.com/news/lifetime-signs-deal-grab-project-runway-from-bravo-nbcu-sues-6881.php
Teen Hairstyles, Games, Dating Advice, and Fashion - Seventeen.com. (2010). Retrieved March 14, 2010, from http://www.seventeen.com/
The Associated Press. (2009, April 1). ‘Project Runway’ is cleared for move to Lifetime from Bravo. Retrieved March 28, 2010, from http://www.nydailynews.com/entertainment/tv/2009/04/02/2009-04-02_project_runway_is_cleared_for_move_to_li.html
The Green Shows Eco Fashion Week Rock New York City With Sustainable Innovation. (2009). Retrieved March 14, 2010, from http://www.ecorazzi.com/2010/02/18/the-green-shows-eco-fashion-week-rock-new-york-city-with-sustainable-innovation/
The Weinstein Company. (2010). Retrieved March 28, 2010, from http://www.weinsteinco.com/#/home
Tim Gunn | myLifetime.com. (2010). Retrieved March 14, 2010, from http://www.mylifetime.com/shows/project-runway/project-runway-judges/tim-gunn
Us Weekly’s Hot Celebrity News, Photos and Video from Usmagazine.com. (2010). Retrieved March 14, 2010, from http://www.usmagazine.com/
REfEREncEs
WoRd usAgE“fASHIon IS not SomEtHIng tHAt
ExIStS In drESSES only. fASHIon IS
In tHE Sky, In tHE StrEEt, fASHIon
HAS to do wItH IdEAS, tHE wAy wE
lIVE, wHAt IS HAppEnIng.”
- CoCo Chanel
Welle aWare Campa ign Book • 25
StrAtEgy
StrAtEgy
Process taken
21
ProcEss takEnprocess, by its very definition, suggests streamlined, effective, no questions asked, time-saving, routine-like actions that repeat over and over. With this perception of “process”, is this concept something that can ever coexist with creativity? creativity eat, sleeps, and breaths differences, the unknown, exhileration, adrenaline, excitement, fervor, and the occasional agitation. the successful creative is flexible where process is anything but that.
keeping this in mind, the creative needs
a structured process. If creativity knows
no bounds, it surely won’t know when to
stop even if a fastly approaching deadline
appears. process serves as gentle guidance
that is absolutely necessary if creativity is to
be effective.
Though the concept of structure and process varies from designer to designer or even between creative places of business, the general idea remains the same at it’s core. There needs to be a consistent framework of milestones, events, or checkpoints in order for creative thinking and production to be effectively developed.
intERviEW
The interview, or br ief ing,
is the init ia l part of the
design process that is the
most crucial to an effect ive,
eff icient, and operat ional
design structure. This is when
the cl ient and the creat ive/
strategic team meet to discuss
the project at hand. In order
to completely understand what
is needed and expected, al l
questions and concerns need
to be asked and voiced.
REsEARch
At this point, i t is necessary
to educate oneself in al l
matters related to the program
being developed in order to
create successful, strategic
platforms. Research can come
in any form and come from
anywhere. I t can be found
or experienced, but i t should
always be documented.
28 • Welle aWare Campa ign Book
StrAtEgy
Process taken
65 4 3concEPt
During this stage of
development, the research
found is appl ied to the goals
and objectives yet to be
achieved. The outcome wil l
be strong, conceptual ly sound
ideas that wi l l strategical ly
del iver results.
dEsign
Graphic elements are brought
to the digital level. At this
stage, there can conceivably
be mult iple rounds of
feedback both internal ly and
external ly before moving on to
the next stage.
ExEcutE
Components are created at
the f inal ized level. Now, there
are rarely large, conceptual
changes being requested to
be made.
EvALuAtE
The point in which the
program’s success is
measured. Did the program
achieve i ts goals? Were the
object ives met? Are there
changes to be made?
Welle aWare Campa ign Book • 29
StrAtEgy
typography / color
tyPogRAPhy
coLoR
color choice for any creative
project is exceptionally important.
It not only attracts attention but
can enhance any emotion or mood
both positively or negatively.
While choosing colors, I wanted to reinforce the the natural, “green” idea that is reinforced by the partnership with social activist/aid charity fashion delivers.
Combining a natural feeling through different greens and blues with sleek grays and black will blend the sleek fashion world with that of the up-and-coming world of eco-fashion.
BLue
Is associated with trust, loyalty, wisdom, intell igence, expertise, confidence, stability and depth. It creates a calming effect, suppresses appetite and has been considered to be beneficial to both body and mind.
Green
Is the color of nature. It symbolizes growth, hope, freshness, and fertil ity. Green is associated with healing, stability, endurance, harmony, safety. life, andwell being.
BLAck
Is associated with power, elegance, formality, death, evil, and mystery. It denotes strength and authority, is seen as formal and elegant, and brings forth feelings of fear and the unknown.
GrAy
The color of sorrow, detachment, and isolation. It connotes responsibility and conservative practicality. It’s a neutral color and creates a noninvasive feeling. It’s associated with security, maturity, and dependability.
While deciding what type or
combination of type sets to
use for any given project, it is
important to take certain things into
consideration. the one ultimately
making such decisions needs to
think about where the final product
will be displayed, what medium it
will take, [relating to that] on what
substrate the final piece will be
produced, the overall tonality of the
concept, and legibility.
While developing the over arching look and feel for the WELLE AWARE sub brand, I wanted to create a specific feeling through typography. There will be instances when the logo mark and brand typography will represent the brand without the assistance of color or imagery.
Researching different typographic families, I determined that I needed my type combination to express simple yet bold information while at the same timeexhibiting classic sophistication.
The quick brown fox jumps over the lazy dogBel l Goth ic Std Bold
The quick brown fox jumps over the lazy dogCal ibr i
The quick brown fox jumps over the lazy dogCentury Goth ic Regular
The quick brown fox jumps over the lazy dogCorbel Regular
The quick brown fox jumps over the lazy dogFutura Medium
the quick brown fox jumps over the lazy dogITC Avant Garde Goth ic Ext ra L ight
The quick brown fox jumps over the lazy dogITC Avant Garde Goth ic Bold
The quick brown fox jumps over the lazy dogHelvet ica Neue (T1) 25 Ul t ra L ight
The quick brown fox jumps over the lazy dogMyr iad Pro Regular
The quick brown fox jumps over the lazy dogNews Goth ic MT Bold
30 • Welle aWare Campa ign Book
StrAtEgy
typography / color
Welle aWare Campa ign Book • 31
StrAtEgy
Mood board
Mood BoardcoMPositiona visuaLcoMMunication tooL
mood boards help convey the overall
style for a project or campaign to
someone other than the designer. It
can be a tool to visually describe the
look and feel of a project in terms of
simplest form: actually showing the
viewer what elements the designer
intends on using in some of the
following areas:
• typography
• photography
• colors
• textures
It can also serve to show the designer what elements function well together and which do not.
Using branding elements and design cues from ELLE’s current branding, the proposal is meant to evoke a feeling of elite style and bold attitude. With a bold color palette of cool jewel tones, gray and black, the concept conveys a sleek sense of sophistication and self-confidence in which the bright hues provide clear focal points demanding attention.
The typography is meant to be bold and eye catching but not distracting from the overall fashion-focus of the campaign.
212/255/15RGB22/0/100/0CMYKD4FF0FHEX
5/200/255RGB63/0/0/0CMYK05C8FFHEX
84/168/20RGB71/9/100/1CMYK54A814HEX
19/97/99RGB89/45/54/24CMYK136163HEX
206/238/248RGB18/0/2/0CMYKCEEEF8HEX
102/102/102RGB60/51/51/20CMYK666666HEX
18/3/3RGB67/70/66/85CMYK120303HEX
32 • Welle aWare Campa ign Book
StrAtEgy
Mood board
sAMPLE PhotogRAPhy
ITC AvAnT GArde Bold CApITAl CAsei tc AvAnt gARdE gothic ExtRA L ightHelvet ica Neue (T1) 25 Ultra Light
Helvetica Neue (T1) 35 Thin
sAMPLE tExtuREs
sAMPLE tyPogRAPhy
Welle aWare Campa ign Book • 33
StrAtEgy
in i t ia l concept ing
WoRd usAgE
Initial concepts are sketches
or diagrams that exemplify
the design’s conceptual
cohesiveness. these will show
the project’s progression over
time. the end result will probably
have strayed from the initial
concept, but it is important to
refer to all initial documents,
sketches, and creative thoughts
to ensure that the project hasn’t
veered off its course.
The following initial concepts il lustrate beginning thoughts for the WELLE AWARE campaign’s program elements. These helped to determine whether the elements fit into the campaign cohesively and if the individual element met the campaign’s set objectives.
As with all of the steps in the design process, each needs to be meticulously compared to the creative brief to determine if it is suitable for the program being created.
Initial concepts were created for the following campaign elements:
initiaLconcEPtingPrELiMinary thoughtExPLorations
Motion GrAphic
coMponent banner
Advertisement
print coMponent
MagazineAdvertisement
interActive coMponent
ProgramMicrosite
34 • Welle aWare Campa ign Book
StrAtEgy
in i t ia l concept ing
SPECIFICATIONS:file name: G_Salit_printad_thesis.aisafety: .25” from all TRIM edges. .125”–.1875” from each side of spread center (for type)trim: 8” x 10.875”non-bleed: 7“ x 10”bleed: 8.25” x 11.125”
Final Final Spcifications:
ACCEPTABLE MEDIA: Cd or Mass Transit Ftp FTP guest instructions will be emailed to you upon request. NOTE: A contract proof must follow the next business day. Ink specifications: 4/C process. Match colors available. Binding specifications: Perfect bound; jog to foot. Printing method: Web offset.
ACCEPTABLE FILE FORMAT:PDF-X1a—which means that it conforms to PDF version 1.3 (Acrobat 4); it has an output resolution of 2400 dpi; it is composite CMYK; it uses high-quality JPEG or lossless Zip com-pression; resolution for color and grayscale images is 300 dpi; resolution for monochrome images is 1200 dpi; and fonts are embedded and subsetted 100%; as well as other charac-teristics. This format is acceptable for full or partial pages. Trapping is the responsibility of the file provider. Further information about PDF-X1a can be found at www.pdf-x.com.
PROOF SPECIFICATIONS:Kodak Approval; or any other SWOP certified contract proof. All contract proofs must be made according to SWOP standards including color bars. Proofs that do not meet SWOP criteria will be used for color break only. SWOP #3 coated proof profile is available at www.idealliance.org. In addition, please supply two content (laser) proofs which are an identical match to the furnished file.
See what’s hot and what’s not
with Style Expert, Tim Gunn,
as he hosts ELLE Magazine’s
ELLEgance for all.
Proceeds from the event
benefit Fashion Delivers, a
charity that donates new
product in order to aid victims
of disasters and individuals in
need throughout the year.
BECAUSE
E L L E g a n c eSHOULD BE FOR ALL
Salit_Thesis_Wk2_DSR.indd 1 12/6/09 8:35 PM
See what’s hot and what’s not with Style Expert,
Tim Gunn, as he hosts ELLE Magazine’s
Fashion Charity Event . Proceeds benefit
a charity that donates
new product in order to
aid victims of disasters
and individuals in need
throughout the year.
SHARE THE
FLAREOCT2010BECAUSE ELLEGANCESHOULD BEFOR ALL
FASHION
only on
Thurs. oct 29 th
9PM est / 10PM pac
PreL iM iNAry LAyout, rouNd 2reF iNed tyPogrAPhy, CoLor ChoiCe , F igure/grouNd reLAt ioNSh iP oF eLeMeNtS iN LAyout.
ArrANged eLeMeNtS to hAVe More oF A V iSuAL FLoW, A NAturAL Mot ioN WheN reAd iNg the iNForMAt ioN.
iN it iAL CoNCePt, rouNd 2reAddreSSed CoMMuNiCAt ioN h ierArChy through iMAgery, Added Photo oF ModeL.
LAyout WAS deVeLoPed d ig itALLy, but WAS reeVALuAted through SketCh iNg.
PreL iM iNAry LAyout, rouNd 1More AtteNt ioN PA id to tyPogrAPh iC StyLe ANd CoLor ChoiCe , reArrANgiNg eLeMeNtS to h ighL ight d iFFereNt WordS iN body CoPy.
iN it iAL CoNCePt, rouNd 1eMPhAS iS oN t iM guNN oN FASh ioN eVeNt hoSt, Very L ittLe eLLe brANdiNg
Welle aWare Campa ign Book • 35
StrAtEgy
in i t ia l concept ing
Motion gRAPhic coMPonEnt
Prel iminary Sketch
Motion gRAPhic coMPonEntConcept Sketch
uPoN V iS it iNg eLLe .CoM:
eNt ire Web PAge iS deSAturAted exCePt For the bANNer.
“ShAre” iS the hotSPot to beg iN AN iMAt ioN:
WheN MouSe roLLS oVer the Word, i t ChANgeS to the L ight grAy CoLor.
FLour iSheS APPeAr ArouNd ModeL.
WheN “ShAre” iS CL iCked, FLour iSheS groW FroM bANNer to the reSt oF the Web PAge.
*the bANNer iS ShAr iNg itS FLA ir With the reSt oF the PAge.
FrAMe 1 FrAMe 2 FrAMe 3
PreL iM iNAry SketCh 1“hoW FASh ioN CAN heLP”h ighLy iNterACt iVe , ShoWiNg PAPer doLLS, V ieWer WAS to MANiPuLAte the doLLS W ith CorreSPoNdiNg outF itS de-PeNd iNg oN the WeAther PAtterN ShoWN oN the SCreeN.
PreL iM iNAry SketCh 2“t iM guNN”iLLuStrAteS the S iMPL iC ity ANd boLd PoWer oF FASh ioN CuLture through the FASh ioN MeNtor iCoN, t iM guNN.
36 • Welle aWare Campa ign Book
StrAtEgy
in i t ia l concept ing
AS A reSuLt oF the FLour iSheS “groWiNg” , CoLor iS returN iNg to the Web PAge ArouNd the bANNer.
CoLor reACheS the reSt oF the PAge. [exterNAL] FLour iSheS hAVe d iSAPPeAred
“CL iCk here to LeArN More” APPeArS iN CorNer
*S iNCe the CL iCk ACt ioN eNAbLed the bANNerS Mot ioN, ANother buttoN hAd to be Added to ProMPt the M iCroS ite to oPeN.
FrAMe 4 FrAMe 5 FrAMe 6
PreL iM iNAry SketCh 3“rA iNboW”ut iL iz iNg the grAPh iC eLeMeNtS AS A Method to trANS it ioN FroM FrAMe to FrAMe AS WeLL AS eNgAge the V ieWer.
iLLuStrAt iNg the iMPACt oF gLAM ANd gL itz iNVoLVed With ALL th iNgS FASh ioN.
PreL iM iNAry SketCh 4“PAPArAzz i ”i LLuStrAt iNg the iMPACt thAt FASh ioN hAS oN the CoMMuNity ANd hoW thAt CAN hAVe A PoS it iVe eFFeCt oN the eNV iroNMeNt ANd thoSe L iV iNg iN i t.
Welle aWare Campa ign Book • 37
StrAtEgy
in i t ia l concept ing
intERActivE coMPonEnt
PreL iM iNAry SketCheS, ProMot ioNAL M iCroS ite
eACh SketCh h ighL ightS the ModeL’S iMAge but d iSPLAyS the CoMMuNiCAt-iNg tyPogrAPhy iN d iFFereNt WAyS ANd We ightS.
Eco cheat sheetEvent Info About WELLE
AWAREFashion De-
liversELLE
Event Specifics
HOME
Ticket info
Soy
joy
Life
time
Tele
-vi
sion
ReM
ade
US
A
TRU
May
u
Met
hod
Pro
ject
Run
way
Alb
a
PresentingDesigners
Link: www.elle.com Link: www.fashiondeliv-
Contributors
Sep
hora
Link
: ww
w.a
lbab
otan
ica.
Link
: ww
w.s
hopm
ayu.
Link
: ww
w.m
ylife
time.
Link
: ww
w.m
ylife
time.
com
/sho
ws/
proj
ect-
Link
: ww
w.tr
uvod
ka.c
om/
Link
: ww
w.s
oyjo
y.co
m/
Link
: ww
w.m
etho
dhom
e.
Link
: ww
w.re
mad
eusa
.
Link
: http
://se
phor
a.co
m/
Blo
gger
Sha
re T
his
Goo
gle
Buz
z
Dig
g
Em
ail
Stu
mbl
eUpo
n
Face
book
privacy policyterms and conditions
Copyright© 2010 HFMUS
Link: www.hfmus.com/
single pop up with links to
share/follow
Twitt
er
donate via paypal
Link: www.paypal.com Ticket Info
38 • Welle aWare Campa ign Book
StrAtEgy
Process taken
The interactive component of the
WELLE AWARE campaign is a microsite
that will provide more information
about the WELLE AWARE sub-brand,
background information about eco-fashion
and the Fashion Delivers charity, and the
Share the Fashion Flair event. When
prompted, the microsite will pop-up over
the user’s browser window in a new
window of its own. The dimensions are
800 px x 600 px.
CoNCePt LAyout, ProMot ioNAL M iCroS ite
deVeLoPed the StruCture oF eACh PAge With iN the M iCroS ite ’S S ite MAP (See beLoW) .
The
Eco
Div
a
Eco
Fas
hion
Ju
nkie
s
Eco
Sho
e S
ourc
e
Eco
Mam
a
Em
eral
d M
arke
t
Eco
See
k
Eth
ical
Fa
shio
nist
a
Eco
Fab
ulou
s
Tris
tan
Grib
-bi
n &
Mar
ion
Ele
na G
arci
a
And
rew
Mar
k Li
u
Mea
dow
C
ompt
on
Son
ja d
en
Elz
en
Sha
wna
Rob
-in
son
& N
atal
ie
Gre
tche
n Jo
nes
Pau
line
Siu
Eco
Chi
ck (.
ca)
Eco
Chi
ck
Eco
Chi
c W
eddi
ngs
Ecc
o E
co
Dom
ikni
trix
Com
mer
ce w
ith
a C
onsc
ienc
e
The
Chi
c E
colo
gist
Be
Gre
en
Be
Eco
chic
Link
: ww
w.e
thic
alfa
sh-
link:
ww
w.e
mer
aldm
arke
t.
link:
ww
w.e
cosh
oeso
urce
.
link:
ww
w.e
cose
ek.n
et
link:
ww
w.e
com
ama.
link:
ww
w.e
cofa
shio
njun
k-
Link
: ww
w.e
cofa
bulo
us.
Link
: ww
w.e
coch
ick.
ca
Link
: ww
w.e
co-c
hick
.com
Link
: ww
w.e
coch
icw
ed-
Link
: ww
w.e
ccoe
co.
Link
: ww
w.d
omik
nitri
x.
Link
: http
://co
mm
erce
-
Link
: ww
w.th
echi
ceco
lo-
Link
: poc
ketc
hang
e.
Link
: ww
w.b
eeco
chic
.com
Link
: ww
w.th
eeco
diva
.
Link
: flor
aand
faun
a.ca
Link
: ww
w.th
ieve
s.ca
Link
: ww
w.tu
rkan
dtay
lor.
Link
: ww
w.m
othl
ove.
com
/
Link
: http
://by
mea
dow
.
Link
: ww
w.e
lena
garc
iast
udio
.
Link
: ww
w.s
eeno
labe
l.
Link
: ww
w.s
tique
.com
/
Link
: ww
w.g
etsu
st.c
om/
Welle aWare Campa ign Book • 39
StAndArdS
StAndArdS
StAndArdS
brand standards
WoRd usAgE
Mission coRPoRAtE PARtnERs coMPEtition
To combine the philanthropic spirit of compassion and care for our planet and the people living on it with our culture’s love of beauty, shopping and entertainment to directly benefit those in need.
PositioningFor the environmentally and socially conscious fashionista who wants/needs to be fashionable yet green, ELLE and Fashion Delivers brings WELLE AWARE: a new section of a publication that provides knowledge and education. Unlike all the other fashion magazines, the ELLE and WELLE AWARE provides this AND the years of fashion heritage and culture the ELLE name carries.
proJect runwAy (A) A reality television show focusing on fashion design that is hosted by model Heidi Klum. The contestants compete with each other to create the best clothes and are usually restricted in time, materials, and theme. Their designs are judged and one or more designers are eliminated each week. http://www.mylifetime.com/shows/project-runway
FAshion deLivers (B)A charitable foundation that mobilizes the fashion community to reach out and affect the world through their donations. Donations provide relief and dignity to men, women, families and survivors of natural disasters. http://www.fashiondelivers.org
LiFetiMe network (c)A television network devoted to movies, sitcoms and dramas, all of which are either geared toward women or feature women in lead roles. The network is owned by A&E Television Networks. http://www.mylifetime.com
cosMopoLitAnPublished by Hearst Magazines, Cosmopolitan has 58 international editions, is printed in 34 languages and is distributed in more than 100 countries
voGuePublished in 18 countries + Latin America by Condé Nast Publications. Each month, Vogue publishes a magazine addressing topics of fashion, life and design.
hArper’s BAzAArPublished by NatMag
GLAMourA women’s magazine published by Condé Nast Publications
in styLeA monthly women’s fashion magazine, published in the United States by Time Inc.
vAnity FAirAn American magazine of pop culture, fashion, and politics published by Condé Nast Publications.
MArie cLAireA monthly women’s magazine providing the reader with health, beauty, and fashion information in each issue. It is published by the Hearst Corporation.
wA monthly American fashion magazine published by Condé Nast Publications
BrandstandardsPrELiMinary thoughtExPLorations
(A )
(C )
(b )
(d )
42 • Welle aWare Campa ign Book
StAndArdS
brand standards
Logo usAgE & Position
incoRREct Logo usAgE
The logo has two formats: horizontal and vertical. The WELLE AWARE logo may only be reproduced in black or reversed out on white over a background within the graphic standards. The logo has been created by using ITC Avant Garde, but only the supplied .eps file should be used to represent the brand mark.
The logo is to be prominently displayed on all visual pieces branded with WELLE AWARE mark. Preferred placement should be at least 0.5 inches from all text, edges of paper, gutter, border, or visual.
0.5”0.5”
logo appearing inthe wrong color
breaking apart the logo
drop Shadow
logo distorted
covering the logo
Special Effects
lorem Ipsum lorem Ipsum
Welle aWare Campa ign Book • 43
StAndArdS
brand standards
coLoR PALEttE & gRAPhic ELEMEnts
212/255/15RGB
22/0/100/0CMYK
D4FF0FHEX
5/200/255RGB
63/0/0/0CMYK
05C8FFHEX
84/168/20RGB
71/9/100/1CMYK
54A814HEX
19/97/99RGB
89/45/54/24CMYK
136163HEX
206/238/248RGB
18/0/2/0CMYK
CEEEF8HEX
18/3/3RGB
67/70/66/85CMYK
120303HEX
PhotogRAPhy
Color choice for any creative project is exceptionally important. It not only attracts attention but can enhance any emotion or mood both positively or negatively. Soothing colors can make consumers and viewers reminisce about good memories or things from the past. While bold, contrasting colors may be striking and gain attention, they may cause viewers to think of other intrusive things such as the blue and red light of a police siren or the neon yellow and black on caution tape. While choosing colors, I wanted to reinforce the natural, “green” idea that is reinforced by the partnership with social activist/aid charity fashion delivers.
Combining a natural feeling through different greens and blues with sleek grays and black will blend the sleek fashion world with that of the up-and-coming world of eco fashion. 102/102/102
RGB60/51/51/20
CMYK666666
HEX
44 • Welle aWare Campa ign Book
StrAtEgy
Process taken
WoRd usAgE
StrAtEgy
Process taken
See what’s hot and what’s not with
Style Expert, Tim Gunn, as he hosts ELLE
Magazine’s Share the Fashion Flair.
Proceeds from the event benefit
Fashion Delivers, a charity that
donates new product in order to aid
victims of disasters and individuals in
need throughout the year.
Text “FSNDLVRS” to 37160 during the event
to Share the Flair and donate $10 and visit
sharethefashionflair.com/texttowinfor more information.
NO PURCHASE NECESSARY. HOW TO DONATE BY MOBILE MESSAGE – MOBILE PHONE: To enter the mobile messaging program via your mobile device during the Entry Period. Text “FSNDLVRS” to 37160 or visit http://www.sharethefashionflair.com/texttowin. Standard Msg&data rates may apply.
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46 • Welle aWare Campa ign Book
StAndArdS
Pr int standards
Logo tREAtMEnt & PLAcEMEnt
tr iM
bLeed
SAFety
0.50”
0 .50”
For consistency among print elements, the WELLE AWARE logo should be placed in the bottom or right 20% of each piece.
The primary logo format is the stacked vertical arrangement. When this absolutely cannot be used because of the background and the surrounding layout, the secondary horizontal arrangement may be used.
tyPE tREAtMEnt
typographic standards follow the guidelines set in the visual
Id section. should specific typographic rules break standards
set in the previously mentioned section, they will be clearly
mentioned in this section.
hEAdLinEsHeadlines in print pieces using the WELLE AWARE logo or other brand elements must use ITC Avant Garde Gothic BOLD in all capital letters. Point sizes vary according to the specifications of each piece. The point size of the typography should be 20% larger than the leading point size. The kerning point size should be 93% less than the typography’s point size. These proportions should carry throughout all print elements.
body coPyTypography reserved for body copy must be set in ITC Avant Garde Gothic Book with normal sentence capitalization. Point sizes vary according to the specifications of each piece. The point size of the typography should be 40% larger than the leading point size. The kerning point size should be 17% more than the typography’s point size. These proportions should carry throughout all print elements. In most cases, body copy should only be printed in black. Do not apply photo effects to typography.
Pr iMAry Logo ArrANgeMeNt
SeCoNdAry Logo ArrANgeMeNt
shAre The fAshIonflAIr oCT 2010
See what’s hot and what’s not with Style
Expert, tim gunn, as he hosts EllE magazine’s
Share the fashion flair.
proceeds from the event benefit fashion
delivers, a charity that donates new product
in order to aid victims of disasters and
individuals in need throughout the year.
exAMPLe heAdL iNe tyPogrAPhy
exAMPLe body CoPy tyPogrAPhy
StrAtEgy
Process taken
tyPogRAPhy
Welle aWare uses the typeface families Itc avant garde gothic
* (10/12/25 pt. rat io) and helvetica neue (ti) * (10/12/75 pt. rat io).
itc Avant garde gothic Extra Light Aa bb cc dd Ee ff gg hh ii Jj Kk Ll Mm nn oo Pp Qq Rr ss tt uu vv Ww xx yy zz 1234567890
itc AvAnt gARdE gothic ExtRA Light AA bb cc dd EE ff gg hh ii JJ KK LL MM nn oo PP QQ RR ss tt uu vv WW xx yy zz 1234567890
Itc Avant garde gothic bookAa bb cc dd Ee ff gg Hh Ii Jj kk ll mm nn oo pp Qq rr Ss tt uu Vv ww xx yy zz 1234567890
ITC Avant Garde Gothic Medium Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890
itc avant garde gothic demiaa Bb cc dd Ee ff gg hh ii Jj kk Ll Mm nn oo Pp Qq rr ss tt uu vv ww xx yy Zz 1234567890
ITC Avant Garde Gothic BoldAa Bb Cc dd ee ff Gg hh Ii Jj Kk ll Mm nn oo pp Qq rr ss Tt Uu vv Ww Xx Yy Zz 1234567890
Helvetica Neue (T1) 35 Thin Aa Bb Cc Dd Ee Ff Gg Hh I i Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890
helvetica neue (t1) 55 thin aa Bb cc dd ee ff gg hh Ii Jj kk ll mm nn oo pp Qq rr ss tt uu vv Ww Xx yy Zz 1234567890
helvetica neue (t1) 55 thin Aa Bb cc dd ee Ff Gg hh ii Jj kk Ll Mm nn oo pp Qq rr ss tt uu vv ww Xx yy zz 1234567890
heLveticA neue (t1) 55 thin AA BB cc dd ee FF GG hh ii JJ kk LL MM nn oo pp QQ rr ss tt uu vv ww XX yy zz 1234567890
48 • Welle aWare Campa ign Book
StrAtEgy
Process taken
WoRd usAgE
ABBreviAtions ELLE’s environmentalism and social ism init iative is called
WELLE AWARE. In headline format, it may be referred to as
“ELLE’s WELLE AWARE”. After f irst mention, it may be referred
to as “WELLE AWARE” to the public.
The public is NEVER to see the words: ADVERTISING,
MARKETING, FINANCE, or CORPORATE.
cApitALizAtion Use capital case when displaying the The WELLE AWARE brand name
without using the logo mark. (Using typography instead of the logo mark
is only permissible when the typographic point size is under 10 point).
dAtes Dates are to be expressed as Day of the Week, Month
Date, Year (ex. Tuesday, March 9, 2010) Dates can also be
expressed numerically as two digits for the month fol lowed
by a period, two digits for the date fol lowed by a period, and
four digits for the year (ex. MM. DD. YY).
tiMes Time should always be expressed with the fewest amount
of characters as possible. Do not insert a space between
the digit denoting the hour and “pm” or “am” (ex. 6pm).
Additionally, when a timespan needs to be represented, do
not insert spaces between the “am” or “pm” and the hyphen
character (ex. 6pm-9pm).
weB For al l URLs and email addresses, use lowercase typography.
If a URL or email address is used in body copy, use ital ics.
(ex. www.sharethefashionflair.com or gil l iansalit@sharetheflair.
com).
contAct The contact information wil l always be expressed on as few
l ines as possible. When a normal l ine break would occur
within USPS standards, use a period and two spaces to
denote a new line. When expressing a telephone or fax
number, leave spaces instead of using hyphens. Don not use
parentheses to encapsulate the area code. To denote whether
a number is a telephone number, a cellphone number, or a fax
number, use a single letter. (ex.123 Street Road, Cityname,
St 98765. t 800.123.4567. www.sharethefashionflair.com.
WoRd usAgE
a large part of the Welle aWare’s brand development and
consistency of style is word and grammar usage. not only is it
imperative to use correct language but it is also important to use the
same literary style as is set in the Welle aWare brand style guide.
please refer to the associated press stylebook for basic elements of
grammatical style and for terms and spelling, use merriam-Webster’s
dictionary.
StrAtEgy
Process taken
WoRd usAgE
StAndArdS
Pr int standards
See what’s hot and what’s not with
Style Expert, Tim Gunn, as he hosts ELLE
Magazine’s Share the Fashion Flair.
Proceeds from the event benefit
Fashion Delivers, a charity that
donates new product in order to aid
victims of disasters and individuals in
need throughout the year.
Text “FSNDLVRS” to 37160 during the event
to Share the Flair and donate $10 and visit
sharethefashionflair.com/texttowinfor more information.
NO PURCHASE NECESSARY. HOW TO DONATE BY MOBILE MESSAGE – MOBILE PHONE: To enter the mobile messaging program via your mobile device during the Entry Period. Text “FSNDLVRS” to 37160 or visit http://www.sharethefashionflair.com/texttowin. Standard Msg&data rates may apply.
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3 3 3
4
5
1
6
2
MAgAzinEAdvERtisEMEnts• Four Color
• Full Bleed
• Bleed: 8.25 x 11.125
• Trim: 8 x 10.875
• SAFETY: Leave .25” from all TRIM edges.
Gutter safety for TYPE: .125”–.1875” from
each side of spread center.
• Format:PDF-X1a—which means that it
conforms to PDF version 1.3 (Acrobat 4);
• Output resolution of 2400 dpi
• CMYK Composite
• Zip compression; resolution for color and
gray scale images is 300 dpi; resolution
for monochrome images is 1200 dpi;
body coPyAd consists of a large gray scale image with
selected colored areas. The body copy
is set in 7.75 pt. ITC Avant Garde Gothic
Book with 20 pt. leading and spacing and
30 pt. tracking/kerning. The body copy in a
magazine advertisement should never exceed
two short paragraphs.
Logo The WELLE AWARE logo should be placed in
the approved lower right corner of the layout.
It should be ≈1.25” x ≈.64”.
1. The logo is reversed out of a dark
background (image)
2. The logo is located within the safety
guideline on the lower right
corner of the layout
gRid3. Layout is arranged in a three-column
grid. Body copy lies in the first of three
columns
4. There is an invisible diagonal grid line
reaching from the upper right corner to
the lower left corner creating the space for
the bold headline.
5. The headline takes up approximately 50%
of the layout
6. The headline is on the top 50% if the page
hEAdLinEtREAtMEnt7. Type: ITC Avant Garde Bold
8. Size: 102.85 pt.
9. Left Justified
10. Leading: 81.39 pts.
11. Kerning: -20 pts.
12. Typography Horizontal Proportion: 97%
tyPogRAPhyItc Avant garde book
Aa bb cc dd Ee ff gg Hh Ii Jj kk ll
mm nn oo pp Qq rr Ss tt uu Vv ww
xx yy zz 1234567890
itc avant garde demiaa Bb cc dd Ee ff gg hh ii Jj kk Ll Mm nn oo Pp Qq rr ss tt uu vv ww xx yy Zz 1234567890
helvetica Neue 37 thin Condensed
Aa bb Cc dd ee Ff gg hh ii Jj kk Ll Mm Nn oo Pp
Qq rr Ss tt uu Vv Ww xx yy zz 1234567890
LAyout sEctions
Welle aWare Campa ign Book • 51
StAndArdS
Pr int standards
coLoR PALEttE & gRAPhic ELEMEnts
212/255/15RGB
22/0/100/0CMYK
D4FF0FHEX
5/200/255RGB
63/0/0/0CMYK
05C8FFHEX
84/168/20RGB
71/9/100/1CMYK
54A814HEX
19/97/99RGB
89/45/54/24CMYK
136163HEX
206/238/248RGB
18/0/2/0CMYK
CEEEF8HEX
18/3/3RGB
67/70/66/85CMYK
120303HEX
PhotogRAPhy
While choosing colors, I wanted to reinforce the natural, “green” idea that is reinforced by the partnership with social activist/aid charity fashion delivers.
Combining a natural feeling through different greens and blues with sleek grays and black will blend the sleek fashion world with that of the up-and-coming world of eco-fashion.
The photography used in the print elements of the WELLE AWARE campaign are to be taken from approved images within this guide. The main, large image is a gray scale image of a model with predetermined areas highlighted in color.
The secondary image is also a gray scale image. It is an image of Tim Gunn and this will be provided.
102/102/102RGB
60/51/51/20CMYK
666666HEX
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interact ive standards
7 Px FroM edge oF Logo
Logo edge
Pr iMAry Logo ArrANgeMeNt
SeCoNdAry Logo ArrANgeMeNt
WoRd usAgE
Depending on the image background presented, the WELLE AWARE logo should go in the same general location as it was for all print advertising created. The logo is to be placed in the lower right corner of the piece created. Because leaving a 0.5” safety gutter space around the logo isn’t always feasible for interactive media, leave enough space around the logo so that the background behind the logo is presented in the same color and extends outside the logo’s area for at least 7 pixels.
In interactive layouts, the stacked vertical format of the logo is the primary logo arrangement and the horizontal format is the secondary arrangement.
Typographic standards follow the guidelines set in the Visual ID section. Should specific typographic rules break standards set in the previously mentioned section, they will be clearly mentioned in this section.
The photography used in any interactive elements of the WELLE AWARE campaign is to be approved before the proof stage of campaign publication. Because of the extensive nature of interactive elements, Images within this guide serve as frame of reference.
intEractivEstandards
Logo tREAtMEnt PhotogRAPhy
Welle aWare Campa ign Book • 53
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interact ivestandards
tyPE tREAtMEnt coLoR
WoRd usAgE
exAMPLe iNterACt iVe heAdL iNe
exAMPLe iNterACt iVe body CoPy
212/255/15RGB
D4FF0FHEX
5/200/255RGB
05C8FFHEX
84/168/20RGB
54A814HEX
19/97/99RGB
136163HEX
206/238/248RGB
CEEEF8HEX
102/102/102RGB
666666HEX
18/3/3RGB
120303HEX
hEAdLinEsHeadlines in interactive pieces using the WELLE AWARE logo or other brand elements must use ITC Avant Garde Gothic BOLD in all capital letters. Point sizes vary according to the specifications of each piece. The point size of the typography should be 20% larger than the leading point size. The kerning point size should be 93% less than the typography’s point size. These proportions should carry throughout all interactive elements in all locations.
body coPyTypography reserved for body copy must be set in
Arial Regular with normal sentence capitalization
with working in an interactive medium. Though
monitor size does vary and will change the way
each page is viewed, the type size of body copy
should always be set the same.
It is 8.5 pt.; the kerning is at 11 pt.; the leading
is at 20 pt.
In addition to the guidelines for color found in this section, the color palette for branded Web and screen items adheres to the color palette guidelines set forth in the Visual ID section of this guide. Where to two sections contradict, Web color guidelines must be followed first and foremost above those guidelines set in the Visual ID section.
A large part of the WELLE AWARE’s brand development and consistency of style is word and grammar usage. Not only is it imperative to use correct language but it is also important to use the same literary style as is set in the WELLE AWARE brand style guide. Please refer to The Associated Press Stylebook for basic elements of grammatical style and for terms and spelling, use Merriam-Webster’s dictionary.
shAre The fAshIonflAIr oCT 2010
ELLE pledges that even while we change—as every living thing must—we will never lose our intelligence, our wit, our cool, and our ability to be just a little ahead of the times.
In order to do this, it is imperative to fully understand and appreciate the environment in which we live and the people with whom we share it.
ABBreviAtions ELLE’s environmentalism and social ism init iative is called WELLE AWARE. In headline format, it may be referred to as “ELLE’s WELLE AWARE”. After f irst mention, it may be referred to as “WELLE AWARE” to the public.
The public is NEVER to see the words: ADVERTISING, MARKETING, FINANCE, or CORPORATE.
cApitALizAtion Use capital case when displaying the The WELLE AWARE brand name without using the logo mark. (Using typography instead of the logo mark is only permissible when the typographic point size is under 10 point).
dAtes Dates are to be expressed as Day of the Week, Month Date, Year (ex. Tuesday, March 9, 2010) Dates can also be expressed numerically as two digits for the month fol lowed by a period, two digits for the date fol lowed by a period, and four digits for the year (ex. MM.DD.YYYY).
tiMes Time should always be expressed with the fewest amount of characters as possible. Do not insert a space between the digit denoting the hour and “pm” or “am” (ex. 6pm). Additionally, when a timespan needs to be represented, do not insert spaces between the “am” or “pm” and the hyphen character (ex. 6pm-9pm).
weB For al l URLs and email addresses, use lowercase typography. If a URL or email address is used in body copy, use ital ics. (ex. www.sharethefashionflair.com or gil l [email protected]).
contAct The contact information wil l always be expressed on as few l ines as possible. When a normal l ine break would occur within USPS standards, use a period and two spaces to denote a new line. When expressing a telephone or fax number, leave spaces instead of using hyphens. Don not use parentheses to encapsulate the area code. To denote whether a number is a telephone number, a cellphone number, or a fax number, use a single letter. (ex.123 Street Road, Cityname, St 98765. t 800.123.4567. www.sharethefashionflair.com. [email protected]).
54 • Welle aWare Campa ign Book
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interact ivestandards
LAyout sEctions
3
1
13
10
2
6
7
8
911
12
45
The interactive graphics for the WELLE AWARE brand will be displayed online. These specific graphics have been created for a temporary microsite so each component is permanent.
All interactive elements will i l lustrate the same overall look and feel. By doing this, each interactive piece will evoke the same emotional and visual connection, and therefore further the overall creation and build of the WELLE AWARE brand.
1. STAGE
800 px x 600 px
2. HEADLINE
Type: ITC Avant Garde Bold
Size: 49.566 pt.
Left Justified
Leading: 65.887 pts.
Kerning: -40 pts.
Typography Vertical Proportion: 97%
3. SUB BRAND LOGO
White (#FFFFFF)
4. PRIMARY NAVIGATION
5. SECONDARY NAVIGATION
6. SECTION HEADING
Type: ITC Avant Garde Bold
Size: 37 pt.
Leading: 29 pts.
Kerning: -25 pts.
Typography Vertical Proportion: 97%
7. BODY COPY
Type: Arial Regular
Size: 8.5 pt.
Leading: 11 pts.
Kerning: 20 pts.
Typography Vertical Proportion: 100%
8. SUBSECTION HEADLINE
Type: ITC Avant Garde Bold
Size: 21 pt.
Leading: 25.2 pts.
Kerning: 0 pts.
Typography Vertical Proportion: 97%
9. SECONDARY SECTION
10. TERTIARY SECTION
Does not change
11. SECTION CAPTION
Type: Arial Regular
Size: 8.5 pt.
Leading: 11 pts.
Kerning: 20 pts.
Typography Vertical Proportion: 100%
12. LEGAL INFO/SECTION NAVIGATION
Type: Arial Regular
Size: 8 pt.
Leading: 9.6 pts.
Kerning: 0 pts.
Typography Vertical Proportion: 100%
Color: 50% Black (#000000)
13. SOCIAL LINKS
Welle aWare Campa ign Book • 55
StAndArdS
Motion graphic standards
WoRd usAgE
Depending on the image background presented, the WELLE AWARE logo should go in the same general location as it was for all print advertising created. The logo is to be placed in the lower right corner of the piece created. Because leaving a 0.5” safety gutter space around the logo isn’t always feasible for interactive media, leave enough space around the logo so that the background behind the logo is presented in the same color and extends outside the logo’s area for at least 7 pixels.
Typographic standards follow the guidelines set in the Visual ID section. Should specific typographic rules break standards set in the previously mentioned section, they will be clearly mentioned in this section.
A large part of the WELLE AWARE’s brand development and consistency of style is word and grammar usage. Not only is it imperative to use correct language but it is also important to use the same literary style as is set in the WELLE AWARE brand style guide. Please refer to The Associated Press Stylebook for basic elements of grammatical style and for terms and spelling, use Merriam-Webster’s dictionary.
hEAdLinEsHeadlines in print pieces using the WELLE AWARE logo or other brand elements must use ITC Avant Garde Gothic BOLD in all capital letters. Point sizes vary according to the specifications of each piece. The point size of the typography should be 20% larger than the leading point size. The kerning point size should be 93% less than the typography’s point size. These proportions should carry throughout all print elements.
Logo tREAtMEnt tyPogRAPhic tREAtMEnt
Pr iMAry Logo ArrANgeMeNt
SeCoNdAry Logo ArrANgeMeNt
exAMPLe Mot ioN grAPh iC heAdL iNe
7 Px FroM edgeLogo edge
shAre The fAshIonflAIr oCT 2010
Motion graPhicstandards
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Motion graphic standards
212/255/15RGB
D4FF0FHEX
5/200/255RGB
05C8FFHEX
84/168/20RGB
54A814HEX
19/97/99RGB
136163HEX
206/238/248RGB
CEEEF8HEX
102/102/102RGB
666666HEX
18/3/3RGB
120303HEX
WoRd usAgE
ABBreviAtions ELLE’s environmentalism and social ism init iative is called WELLE AWARE. In headline format, it may be referred to as “ELLE’s WELLE AWARE”. After f irst mention, it may be referred to as “WELLE AWARE” to the public.
The public is NEVER to see the words: ADVERTISING, MARKETING, FINANCE, or CORPORATE.
cApitALizAtion Use capital case when displaying the The WELLE AWARE brand name without using the logo mark. (Using typography instead of the logo mark is only permissible when the typographic point size is under 10 point).
dAtes Dates are to be expressed as Day of the Week, Month Date, Year (ex. Tuesday, March 9, 2010) Dates can also be expressed numerically as two digits for the month fol lowed by a period, two digits for the date fol lowed by a period, and four digits for the year (ex. MM.DD.YYYY).
tiMes Time should always be expressed with the fewest amount of characters as possible. Do not insert a space between the digit denoting the hour and “pm” or “am” (ex. 6pm). Additionally, when a timespan needs to be represented, do not insert spaces between the “am” or “pm” and the hyphen character (ex. 6pm-9pm).
weB For al l URLs and email addresses, use lowercase typography. If a URL or email address is used in body copy, use ital ics. (ex. www.sharethefashionflair.com or gil l [email protected]).
contAct The contact information wil l always be expressed on as few l ines as possible. When a normal l ine break would occur within USPS standards, use a period and two spaces to denote a new line. When expressing a telephone or fax number, leave spaces instead of using hyphens. Don not use parentheses to encapsulate the area code. To denote whether a number is a telephone number, a cellphone number, or a fax number, use a single letter. (ex.123 Street Road, Cityname, St 98765. t 800.123.4567. www.sharethefashionflair.com. [email protected])
PhotogRAPhy coLoR
The photography used in the motion
graphic elements of the WELLE AWARE
campaign are to be taken from approved
images within this guide. The main, large
image is a gray scale image of a model
with predetermined areas highlighted in
color.
In addition to the guidelines for color
found in this section, the color palette for
branded Web and screen items adheres
to the color palette guidelines set forth in
the Visual ID section of this guide. Where
to two sections contradict, Web color
guidelines must be followed first and
foremost above those guidelines set in
the Visual ID section.
A large part of the WELLE AWARE’s brand
development and consistency of style is
word and grammar usage. Not only is it
imperative to use correct language but it is
also important to use the same literary style
as is set in the WELLE AWARE brand style
guide. Please refer to The Associated Press
Stylebook for basic elements of grammatical
style and for terms and spelling, use
Merriam-Webster’s dictionary.
Welle aWare Campa ign Book • 57
StAndArdS
Motion graphic standards
LAyout sPEcifics
the motion graphics for the Well
aWare brand will be displayed
online. all components will
i l lustrate the same overall look
and feel. By doing this, each
interactive element will evoke
the same emotion and visual
connection, therefore further the
overall creation and build of the
well aware brand.
tyPogRAPhyType: ITC Avant Garde DemiSize: 47 pt.Left JustifiedLeading: 36 pts.Kerning: -50 pts.Typography Horizontal Proportion: 97%Capital CaseBlack type
Logo PLAcEMEntDepending on the image background presented, the WELLE AWARE logo should go in the same general location as it was for all print advertising created. The logo is to be placed in the lower right corner of the piece created. Because leaving a 0.5” safety gutter space around the logo isn’t always feasible for interactive media, leave enough space around the logo so that the background behind the logo is presented in the same color and extends outside the logo’s area for at least 2 pixels.
LinK styLE Type: ITC Avant Garde BoldSize: 15 pt.Left JustifiedLeading: 36 pts.Kerning: -5 pts.Typography Horizontal Proportion: 97%Capital CaseBefore state: type color R:223 G:0 B:160Hover state: type color R:255 G:18 B:0
58 • Welle aWare Campa ign Book
StrAtEgy
Process taken
WoRd usAgE
SolutIon
SolutIon
Pr int
SPECIFICATIONS:file name: G_Salit_printad_thesis.aisafety: .25” from all TRIM edges. .125”–.1875” from each side of spread center (for type)trim: 8” x 10.875”non-bleed: 7“ x 10”bleed: 8.25” x 11.125”
Final Final Spcifications:
ACCEPTABLE MEDIA: Cd or Mass Transit Ftp FTP guest instructions will be emailed to you upon request. NOTE: A contract proof must follow the next business day. Ink specifications: 4/C process. Match colors available. Binding specifications: Perfect bound; jog to foot. Printing method: Web offset.
ACCEPTABLE FILE FORMAT:PDF-X1a—which means that it conforms to PDF version 1.3 (Acrobat 4); it has an output resolution of 2400 dpi; it is composite CMYK; it uses high-quality JPEG or lossless Zip com-pression; resolution for color and grayscale images is 300 dpi; resolution for monochrome images is 1200 dpi; and fonts are embedded and subsetted 100%; as well as other charac-teristics. This format is acceptable for full or partial pages. Trapping is the responsibility of the file provider. Further information about PDF-X1a can be found at www.pdf-x.com.
PROOF SPECIFICATIONS:Kodak Approval; or any other SWOP certified contract proof. All contract proofs must be made according to SWOP standards including color bars. Proofs that do not meet SWOP criteria will be used for color break only. SWOP #3 coated proof profile is available at www.idealliance.org. In addition, please supply two content (laser) proofs which are an identical match to the furnished file.
See what’s hot and what’s not with
Style Expert, Tim Gunn, as he hosts ELLE
Magazine’s Share the Fashion Flair.
Proceeds from the event benefit
Fashion Delivers, a charity that
donates new product in order to aid
victims of disasters and individuals in
need throughout the year.
Text “FSNDLVRS” to 37160 during the event
to Share the Flair and donate $10 and visit
sharethefashionflair.com/texttowinfor more information.
NO PURCHASE NECESSARY. HOW TO DONATE BY MOBILE MESSAGE – MOBILE PHONE: To enter the mobile messaging program via your mobile device during the Entry Period. Text “FSNDLVRS” to 37160 or visit http://www.sharethefashionflair.com/texttowin. Standard Msg&data rates may apply.
PRINTED
ON
RECYC
LED PA
PER
Salit_Thesis_Wk2_DSR.indd 1 5/20/10 1:18 PM
62 • Welle aWare Campa ign Book
Welle aWare Campa ign Book • 63
StrAtEgy
Process taken
64 • Welle aWare Campa ign Book
SolutIon
interactive
MiCroS ite : “hoMe” PAge
MiCroS ite : “About” PAge MiCroS ite : “eVeNt oVerV ieW” PAge
Welle aWare Campa ign Book • 65
SolutIon
interact ive
MiCroS ite : “eVeNt SPeC iF iCS” PAge MiCroS ite : “t iM ’S b io” PAge
MiCroS ite : “eVeNt CoNtr ibutorS” PAge
With hoVer iNg MouSe
MiCroS ite : “eVeNt CoNtr ibutorS” PAge
MiCroS ite : “eCo CheAt Sheet” PAgeMiCroS ite : “Pr iVACy PoL iCy” PAge
66 • Welle aWare Campa ign Book
SolutIon
interact ive
MiCroS ite : “PreSeNt iNg deS igNerS” PAge
With hoVer iNg MouSe
MiCroS ite : “PreSeNt iNg deS igNerS” PAge
MiCroS ite : “terMS ANd CoNdit ioNS” PAgeMiCroS ite : “t iCket iNFo (ANd PurChAS iNg) ” PAge
Welle aWare Campa ign Book • 67
68 • Welle aWare Campa ign Book
SolutIon
Motion graphic
MotioN grAPh iC : FrAMe 2
Mot ioN grAPh iC : FrAMe 4
Mot ioN grAPh iC : FrAMe 6
Mot ioN grAPh iC : FrAMe 1
Mot ioN grAPh iC : FrAMe 3
Mot ioN grAPh iC : FrAMe 5
Welle aWare Campa ign Book • 69
MdMfaMedia Design Master of Fine Arts
Brand DevelopmentDesign StrategyProduction Workflow
Campus: 800.226.7625 | Online: 888.993.73383300 University Boulevard | Winter Park, Florida 32792
70 • Welle aWare Campa ign Book